JET HARRIS IN IRELAND - A PERSONAL VIEW / REVIEW
Posted: 21 Jul 2012, 15:28JET HARRIS – “IN IRELAND” – A PERSONAL VIEW / REVIEW
I feel that it’s only fair that people should know exactly what they are buying in terms of this CD. This is purely my personal view / review of this product and some of the background associated with it. After reading this, people must make up their own minds. Like everyone on the Shadowmusic site, I am a Shadows (& Jet) fan pure and simple. Again, like many I have followed Jet & the Shadows (nee Drifters) and collected their recordings / memorabilia etc since 1959 – 1960. I have had many articles about the Shadows published, written John Rostill’s biography, assisted with Shadows’ tour brochures, written tour brochure notes for Hank, written a book with Malcolm Campbell & Les Woosey, written eulogies for both Jerry Lordan and Jet himself as well as compiling / annotating numerous Shadows reissue CDs etc., etc. As well as seeing the Shadows in concert innumerable times, I attended in excess of 150 Jet Harris shows over the course of 30 years and got to know him very well indeed. I’m not a guitarist, but I have been involved in many high – powered professional musical events in other spheres (eg being part of an ensemble deputising for the BBC Singers etc). I only mention all of this not to be ‘big time’ or to ‘blow my own trumpet’ – but purely to demonstrate that I do know what I’m talking about and that my comments / observations might actually have some credence.
BACKGROUND
Early in 2009, Jet was planning a new CD release to celebrate his 50 years in the industry and to be produced by Nigel Hopkins (producer of The Journey album). On receiving an offer from Norman Teeling to help finance this CD - Jet was definitely excited by the initial ideas behind this project. However, Jet himself later told me that it was never his intention to do any kind of ‘Jazz’ album. Far from it. One or two tracks with a slight ‘jazzy’ element maybe…but that would have been as far as it went insofar as Jet was concerned. Indeed Jet was keen to produce a ‘50th Anniversary’ CD with fresh versions of his own biggest hits (& Shadows tracks associated with him) Jet had been feeling unwell before he left for Ireland. In fact, mentally and physically he was at very low ebb. However, he was keen to record and always wanted to honour commitments and fulfil obligations. Not long after returning to England he was, as we all know, sadly diagnosed with the cancer which eventually took his life. Physical exhaustion, illness, extreme fatigue and worry meant that Jet was simply too unwell to play as well as he would have liked in Ireland – certainly nowhere near his own high standards.
THE BOOKLET
For such a seemingly important CD release, the booklet and notes are littered with numerous errors: ‘aquired’ (sic) instead of ‘acquired’, ‘honored’ (sic) instead of ‘honoured’. “Theme For Something Really Important” has become "Theme From Something Really Important” and then has become “Something Really Important” and “Peace Pipe” has transmuted into “Peacepipe”. Tony Crombie did not (as stated here) actually purchase a Framus bass guitar for Jet, he merely informed Jet about the existence of such an instrument and suggested that he (Jet) should invest in one. Possibly worst of all is the fact that both “Apache” and “Diamonds” were apparently written by Jerry Lordon! There’s something else just a little odd about the booklet. All of the musicians are meticulously listed. I know for a fact that Des McNeill played bass on the live tracks with the Jet Set…yet, his name is curiously absent. Likewise, Jet once showed me a fabulous photograph of himself, Des and Charles Campbell onstage in Dublin. That same photograph is included in the CD booklet. Or is it? Des McNeill has mysteriously vanished from the photograph and Jet and Charles are somehow now standing almost next to each other. Hmmmmm?
THE LIVE TRACKS
Sleepwalk / Applejack / Theme From Something Really Important (sic) / Apache / Diamonds / F.B.I.
All good, solid live performances typical of those at fan club gatherings. But they’re not perfect by any stretch of the imagination. There are mistakes in there. Mistakes which would have flashed by in the twinkle of an eye when played live, possibly even gone unnoticed. But no professional artist would want any such performances issued on CD to be in the glare of public scrutiny and enshrined for posterity. Also, humorous and ribald as many of Jet’s introductions were, I don’t feel that he would want people worldwide to hear him ‘effing and blinding’. The introductions could have been edited, or even removed completely. Worst of all though, is the overall sound balance, which is very poor - with the drummer (excellent though he is) frequently overpowering everything and everyone else. I know from many discussions with Jet that he would never sanction the release of any material with sub-standard sound. Viz: Personally, I do not believe that Jet gave any official approval for any commercial release of this material – particularly in its completely unedited raw form.
IN THE STUDIO
Song For Jet* / Sleepwalk* / 36 – 24 - 36 / Shotgun / Something Really Important (sic) / F.B.I* – Man Of Mystery / Peacepipe (sic) / Diamonds
*with Jet Harris
Could I just say at the outset that all of the musicians featured on these tracks are absolutely superb. Norman Teeling, Charles Campbell (& all of the other listed performers) are outstanding guitarists and the tracks are extremely well – recorded and produced. No problems with sound quality or performance. No….the biggest problem is that this CD is advertised as a Jet Harris CD. Yet…..in his own notes, Charles Campbell actually states that (because Jet was ‘taken ill’?) the whole project was abandoned and that he (nearly three years later!) has had to spend countless hours “…sorting, mixing and salvaging what we could.” The result…. Jet can apparently be heard on just three tracks…that’s it!! Knowing what we do in retrospect, I can’t see Jet having been happy about this at all. I’m sure that (had he recovered sufficiently) he would have wanted to revisit this material and to re - record it.
Still, let’s check out those three tracks featuring Jet first. “Sleepwalk” is superbly played and it’s an extremely effective arrangement. There’s no doubting the sheer brilliance of Norman Teeling’s artistry during the lengthy and Jazzy introduction (thereby making the first 1’43” virtually a completely separate and solo piece). The remaining 3 minutes or so are also mighty fine. Sure, Jet’s bass is on there…. but hardly prominent amidst up to half a dozen electric, pedal steel and acoustic guitars (courtesy of numerous overdubs). Nevertheless, a fine performance. “FBI* – Man Of Mystery”. Jet is only featured on the first part of this medley – blasting out the lead lines of “FBI” on his Fender VI. Certainly I recall him occasionally doing this in concert during the early 1990s. This only lasts for 1’10” and is offset against a quasi – “Take Five” type backing. You either like it or you don’t. Given that Jet was extremely unwell, it seems to me that Jet may have managed a decent enough take of c. 25 – 30 seconds, which was then ‘cloned’ and repeated. Absolutely nothing wrong with that - as it’s still Jet playing. After all, Joe Meek did exactly the same with Alan Caddy's lead break on "Telstar" exactly 50 years ago! Norman Teeling then reels off a fine set of Jazz improvisations (c. 45 seconds). The track then segues into “Man Of Mystery” (which does not feature Jet) for c. 1’45” of Jazz type variations around the “M.O.M.” theme. If you like Jazz improvisations – you’ll love it! Shadows – it ain’t. Extremely well played and performed though. “Song For Jet” is a fine original by Charles Campbell. A slow, haunting, dreamy number with arpeggiated rhythm and cavernously echoed / tremeloed lead, building in intensity (and added instrumentation) as it progresses. Jet is apparently featured on bass throughout. Certainly the bass is there – albeit (pardon the pun) a rather basic, almost plodding line. I do ask myself this question – given Jet’s state of health and Charles’ summary (in his own notes) that Jet recorded bass tracks on some tunes and a bit of lead on others. Viz: Only just over a minute of lead on “FBI” and bass on “Sleepwalk”. Yet, although he’s not featured at all on “36 – 24 – 36”, “T F S R Important”, “Shotgun”, “Peace Pipe” or even “Diamonds” (all numbers which he knew ‘inside out’) – he somehow managed to complete an entire bass line for a brand new number (which he hardly knew at all) lasting for almost four minutes. Just a thought.
TRACKS ‘SANS’ JET
“36 – 24 – 36” – A good solid, rocking re – working of the old favourite with some cool, jazzy breaks.
“Shotgun”. Completely unrecognisable as the Shadows’ classic. A very, very clever set of jazz variations and inversions of the original melody. Brilliant playing, but definitely more for Jazz aficionados than anything else.
“Something Really Important” (sic). Duane Eddy recorded the original version of Jeff Lynne’s superb melody back in 1987. Jet loved it and made it his own. There’s nothing wrong with this excellent interpretation / arrangement at all. Just a pity that Jet’s not involved in the performance in any way, shape or form.
“Peacepipe” (sic). Much to be admired here from a playing / arranging capacity. Again it’s all very jazzy. Absolutely fine if you like Jazz. Not so good if you don’t. But…the performance is wonderfully executed.
“Diamonds”. Jet and Tony’s biggest and most enduring hit - and the track in which Jet took such great pride. This is a very big, busy, bustling and heavy arrangement. To my mind it’s a valid re – working and the playing can’t be faulted. It’s all a matter of personal taste and style. I can imagine that some fans would quite like this and, equally, some would simply hate it. It’s difficult for me to listen to this one objectively. Firstly…. Jet’s absence from a track that he was intensely proud of. Secondly, the fact that he himself (even though he didn’t play on this) was not personally happy with this particular arrangement. As a stand-alone performance, it can be judged on its own merits – but the arrangement didn’t meet with Jet’s personal approval.
SUMMARY
If Charles Campbell and Norman Teeling had issued a complete CD of their own recordings (eg “A Tribute To Jet Harris”) - maybe with Jet ‘guesting’ on, say, a couple of tracks – then I’m sure that it would have attracted a lot of interest. Instrumental fans would know exactly what they were buying. Clearly Charles and Norman (+ the numerous others listed in the booklet) are fine, nay outstanding musicians. So why didn’t they do just that one wonders?
The CD which has appeared is, to all intents and purposes, an officially – sanctioned Jet Harris CD. The problem is that it isn’t any such creature at all. Moreover, it is deceptive. Anyone picking up this CD would do so expecting to find 14 tracks featuring Jet playing lots of his big hits and Shadows numbers. After all, his photograph is on the cover and the title is prominent: “Jet Harris In Ireland: Back To My Roots”. Nowhere does it say that Jet does not feature at all on five of the tracks (and only briefly on “FBI”). True, that information can be gleaned from the booklet – but the casual buyer wouldn’t find out until the CD was opened after being purchased. So the CD is the veritable ‘Curate’s Egg’ – or even a ‘Frankenstein’ – literally ‘bolted’ together from disparate sources. 6 average live tracks with variable sound / balance quality (not sanctioned by Jet), 5 tracks not featuring Jet at all and 3 tracks featuring Jet (2 far from prominently) using performances ‘salvaged’ (refs his own notes) by Charles Campbell. Really, can we have such a CD as this with Jet not even featuring on his own biggest solo hit (“Diamonds”)? So it’s not marketed as a CD in tribute to Jet – yet it can’t be an official Jet Harris CD (which it quite clearly purports to be) – as it wasn’t sanctioned for release by Jet. To all intents and purposes – it appears to be a bona fide Jet Harris CD – which it isn’t. This is my dilemma. A genuine tribute to Jet Harris? Or a cynical attempt to ‘cash in’ on our departed hero’s name? Caveat Emptor.
Rob Bradford
I feel that it’s only fair that people should know exactly what they are buying in terms of this CD. This is purely my personal view / review of this product and some of the background associated with it. After reading this, people must make up their own minds. Like everyone on the Shadowmusic site, I am a Shadows (& Jet) fan pure and simple. Again, like many I have followed Jet & the Shadows (nee Drifters) and collected their recordings / memorabilia etc since 1959 – 1960. I have had many articles about the Shadows published, written John Rostill’s biography, assisted with Shadows’ tour brochures, written tour brochure notes for Hank, written a book with Malcolm Campbell & Les Woosey, written eulogies for both Jerry Lordan and Jet himself as well as compiling / annotating numerous Shadows reissue CDs etc., etc. As well as seeing the Shadows in concert innumerable times, I attended in excess of 150 Jet Harris shows over the course of 30 years and got to know him very well indeed. I’m not a guitarist, but I have been involved in many high – powered professional musical events in other spheres (eg being part of an ensemble deputising for the BBC Singers etc). I only mention all of this not to be ‘big time’ or to ‘blow my own trumpet’ – but purely to demonstrate that I do know what I’m talking about and that my comments / observations might actually have some credence.
BACKGROUND
Early in 2009, Jet was planning a new CD release to celebrate his 50 years in the industry and to be produced by Nigel Hopkins (producer of The Journey album). On receiving an offer from Norman Teeling to help finance this CD - Jet was definitely excited by the initial ideas behind this project. However, Jet himself later told me that it was never his intention to do any kind of ‘Jazz’ album. Far from it. One or two tracks with a slight ‘jazzy’ element maybe…but that would have been as far as it went insofar as Jet was concerned. Indeed Jet was keen to produce a ‘50th Anniversary’ CD with fresh versions of his own biggest hits (& Shadows tracks associated with him) Jet had been feeling unwell before he left for Ireland. In fact, mentally and physically he was at very low ebb. However, he was keen to record and always wanted to honour commitments and fulfil obligations. Not long after returning to England he was, as we all know, sadly diagnosed with the cancer which eventually took his life. Physical exhaustion, illness, extreme fatigue and worry meant that Jet was simply too unwell to play as well as he would have liked in Ireland – certainly nowhere near his own high standards.
THE BOOKLET
For such a seemingly important CD release, the booklet and notes are littered with numerous errors: ‘aquired’ (sic) instead of ‘acquired’, ‘honored’ (sic) instead of ‘honoured’. “Theme For Something Really Important” has become "Theme From Something Really Important” and then has become “Something Really Important” and “Peace Pipe” has transmuted into “Peacepipe”. Tony Crombie did not (as stated here) actually purchase a Framus bass guitar for Jet, he merely informed Jet about the existence of such an instrument and suggested that he (Jet) should invest in one. Possibly worst of all is the fact that both “Apache” and “Diamonds” were apparently written by Jerry Lordon! There’s something else just a little odd about the booklet. All of the musicians are meticulously listed. I know for a fact that Des McNeill played bass on the live tracks with the Jet Set…yet, his name is curiously absent. Likewise, Jet once showed me a fabulous photograph of himself, Des and Charles Campbell onstage in Dublin. That same photograph is included in the CD booklet. Or is it? Des McNeill has mysteriously vanished from the photograph and Jet and Charles are somehow now standing almost next to each other. Hmmmmm?
THE LIVE TRACKS
Sleepwalk / Applejack / Theme From Something Really Important (sic) / Apache / Diamonds / F.B.I.
All good, solid live performances typical of those at fan club gatherings. But they’re not perfect by any stretch of the imagination. There are mistakes in there. Mistakes which would have flashed by in the twinkle of an eye when played live, possibly even gone unnoticed. But no professional artist would want any such performances issued on CD to be in the glare of public scrutiny and enshrined for posterity. Also, humorous and ribald as many of Jet’s introductions were, I don’t feel that he would want people worldwide to hear him ‘effing and blinding’. The introductions could have been edited, or even removed completely. Worst of all though, is the overall sound balance, which is very poor - with the drummer (excellent though he is) frequently overpowering everything and everyone else. I know from many discussions with Jet that he would never sanction the release of any material with sub-standard sound. Viz: Personally, I do not believe that Jet gave any official approval for any commercial release of this material – particularly in its completely unedited raw form.
IN THE STUDIO
Song For Jet* / Sleepwalk* / 36 – 24 - 36 / Shotgun / Something Really Important (sic) / F.B.I* – Man Of Mystery / Peacepipe (sic) / Diamonds
*with Jet Harris
Could I just say at the outset that all of the musicians featured on these tracks are absolutely superb. Norman Teeling, Charles Campbell (& all of the other listed performers) are outstanding guitarists and the tracks are extremely well – recorded and produced. No problems with sound quality or performance. No….the biggest problem is that this CD is advertised as a Jet Harris CD. Yet…..in his own notes, Charles Campbell actually states that (because Jet was ‘taken ill’?) the whole project was abandoned and that he (nearly three years later!) has had to spend countless hours “…sorting, mixing and salvaging what we could.” The result…. Jet can apparently be heard on just three tracks…that’s it!! Knowing what we do in retrospect, I can’t see Jet having been happy about this at all. I’m sure that (had he recovered sufficiently) he would have wanted to revisit this material and to re - record it.
Still, let’s check out those three tracks featuring Jet first. “Sleepwalk” is superbly played and it’s an extremely effective arrangement. There’s no doubting the sheer brilliance of Norman Teeling’s artistry during the lengthy and Jazzy introduction (thereby making the first 1’43” virtually a completely separate and solo piece). The remaining 3 minutes or so are also mighty fine. Sure, Jet’s bass is on there…. but hardly prominent amidst up to half a dozen electric, pedal steel and acoustic guitars (courtesy of numerous overdubs). Nevertheless, a fine performance. “FBI* – Man Of Mystery”. Jet is only featured on the first part of this medley – blasting out the lead lines of “FBI” on his Fender VI. Certainly I recall him occasionally doing this in concert during the early 1990s. This only lasts for 1’10” and is offset against a quasi – “Take Five” type backing. You either like it or you don’t. Given that Jet was extremely unwell, it seems to me that Jet may have managed a decent enough take of c. 25 – 30 seconds, which was then ‘cloned’ and repeated. Absolutely nothing wrong with that - as it’s still Jet playing. After all, Joe Meek did exactly the same with Alan Caddy's lead break on "Telstar" exactly 50 years ago! Norman Teeling then reels off a fine set of Jazz improvisations (c. 45 seconds). The track then segues into “Man Of Mystery” (which does not feature Jet) for c. 1’45” of Jazz type variations around the “M.O.M.” theme. If you like Jazz improvisations – you’ll love it! Shadows – it ain’t. Extremely well played and performed though. “Song For Jet” is a fine original by Charles Campbell. A slow, haunting, dreamy number with arpeggiated rhythm and cavernously echoed / tremeloed lead, building in intensity (and added instrumentation) as it progresses. Jet is apparently featured on bass throughout. Certainly the bass is there – albeit (pardon the pun) a rather basic, almost plodding line. I do ask myself this question – given Jet’s state of health and Charles’ summary (in his own notes) that Jet recorded bass tracks on some tunes and a bit of lead on others. Viz: Only just over a minute of lead on “FBI” and bass on “Sleepwalk”. Yet, although he’s not featured at all on “36 – 24 – 36”, “T F S R Important”, “Shotgun”, “Peace Pipe” or even “Diamonds” (all numbers which he knew ‘inside out’) – he somehow managed to complete an entire bass line for a brand new number (which he hardly knew at all) lasting for almost four minutes. Just a thought.
TRACKS ‘SANS’ JET
“36 – 24 – 36” – A good solid, rocking re – working of the old favourite with some cool, jazzy breaks.
“Shotgun”. Completely unrecognisable as the Shadows’ classic. A very, very clever set of jazz variations and inversions of the original melody. Brilliant playing, but definitely more for Jazz aficionados than anything else.
“Something Really Important” (sic). Duane Eddy recorded the original version of Jeff Lynne’s superb melody back in 1987. Jet loved it and made it his own. There’s nothing wrong with this excellent interpretation / arrangement at all. Just a pity that Jet’s not involved in the performance in any way, shape or form.
“Peacepipe” (sic). Much to be admired here from a playing / arranging capacity. Again it’s all very jazzy. Absolutely fine if you like Jazz. Not so good if you don’t. But…the performance is wonderfully executed.
“Diamonds”. Jet and Tony’s biggest and most enduring hit - and the track in which Jet took such great pride. This is a very big, busy, bustling and heavy arrangement. To my mind it’s a valid re – working and the playing can’t be faulted. It’s all a matter of personal taste and style. I can imagine that some fans would quite like this and, equally, some would simply hate it. It’s difficult for me to listen to this one objectively. Firstly…. Jet’s absence from a track that he was intensely proud of. Secondly, the fact that he himself (even though he didn’t play on this) was not personally happy with this particular arrangement. As a stand-alone performance, it can be judged on its own merits – but the arrangement didn’t meet with Jet’s personal approval.
SUMMARY
If Charles Campbell and Norman Teeling had issued a complete CD of their own recordings (eg “A Tribute To Jet Harris”) - maybe with Jet ‘guesting’ on, say, a couple of tracks – then I’m sure that it would have attracted a lot of interest. Instrumental fans would know exactly what they were buying. Clearly Charles and Norman (+ the numerous others listed in the booklet) are fine, nay outstanding musicians. So why didn’t they do just that one wonders?
The CD which has appeared is, to all intents and purposes, an officially – sanctioned Jet Harris CD. The problem is that it isn’t any such creature at all. Moreover, it is deceptive. Anyone picking up this CD would do so expecting to find 14 tracks featuring Jet playing lots of his big hits and Shadows numbers. After all, his photograph is on the cover and the title is prominent: “Jet Harris In Ireland: Back To My Roots”. Nowhere does it say that Jet does not feature at all on five of the tracks (and only briefly on “FBI”). True, that information can be gleaned from the booklet – but the casual buyer wouldn’t find out until the CD was opened after being purchased. So the CD is the veritable ‘Curate’s Egg’ – or even a ‘Frankenstein’ – literally ‘bolted’ together from disparate sources. 6 average live tracks with variable sound / balance quality (not sanctioned by Jet), 5 tracks not featuring Jet at all and 3 tracks featuring Jet (2 far from prominently) using performances ‘salvaged’ (refs his own notes) by Charles Campbell. Really, can we have such a CD as this with Jet not even featuring on his own biggest solo hit (“Diamonds”)? So it’s not marketed as a CD in tribute to Jet – yet it can’t be an official Jet Harris CD (which it quite clearly purports to be) – as it wasn’t sanctioned for release by Jet. To all intents and purposes – it appears to be a bona fide Jet Harris CD – which it isn’t. This is my dilemma. A genuine tribute to Jet Harris? Or a cynical attempt to ‘cash in’ on our departed hero’s name? Caveat Emptor.
Rob Bradford